Pierre Watkin Movies

Dorothy McGuire and Robert Young reprise their roles from the film Claudia, which followed the titular young couple as they dealt with the trials of parenthood. Claudia, a bit wiser than she was in the first film but still charmingly naive and a bit nervous, is struggling with the responsibilities of motherhood when a fortune teller predicts that something horrible will happen to her husband. Since David is soon to travel to the West Coast on business, Claudia tries to persuade him not to go, even though it could mean losing his job. Claudia is next convinced that the baby has contracted a fatal illness, though it turns out to be nothing more than the measles. And jealousy creeps into the relationship when Elizabeth (Mary Astor) starts consulting David on a building project, while Claudia is attracting the uninvited attentions of Phil (John Sutton), who happens to be married. Like its predecessor, Claudia and David was based on a series of short stories by Rose Franken, which also inspired a successful stage play and radio series. ~ Mark Deming, All Movie Guide

Republic Pictures certainly didn't believe in obscure or misleading film titles, as G.I. War Brides amply proves. Ann Lee plays Linda Powell, a British lass who desires to enter the United States without dealing with the immigration authorities. To this end, Linda trades places with Joyce Giles (Carol Savage), a war bride whose American husband no longer loves her. Arriving at the home of Joyce's husband Steve (James Ellison), Linda convinces her "husband" and his family to maintain the artifice lest she be sent back to England. Complicating matters is a snoopy reporter (Robert Armstrong) and Linda's real boyfriend Capt. Roger Kirby (William Henry). A few isolated comic-relief scenes aside, GI War Brides is pretty slow going. ~ Hal Erickson, All Movie Guide

Several years after the "Michael Shayne" B-movie series ran its course at 20th Century-Fox, PRC Pictures revived the property with Murder is My Business. Hugh Beaumont-yes, Ward Cleaver!--replaces Fox's Lloyd Nolan as Brett Halliday's red-headed gumshoe Michael Shayne. This time around, Shayne is hired by a wealthy woman to protect her from blackmailers. When his client is murdered, Shayne takes it upon himself to track down the killer. Murder is My Business was adapted from the Brett Halliday novel The Uncomplaining Corpse. ~ Hal Erickson, All Movie Guide

Our Hearts Were Growing Up is the sequel to Paramount's surprise 1944 hit Our Hearts Were Young and Gay. The first film was based on the memoirs of actress Cornelia Otis Skinner; the sequel was inspired by the fevered imaginations of the screenwriters. Gail Russell plays Ms. Skinner, while Diana Lynn costars as Cornelia's best friend Emily Kimbrough. This time the girls visit the college boyfriends, only to become involve with a pair of benign bootleggers, portrayed by Brian Donlevy and William Demarest. Their misguided association with the criminal results in consternation for Cornelia's father, the eminent stage actor Otis Skinner (Charlie Ruggles). Ironically, Gail Russell, who played Cornelia Otis Skinner in both of the Our Hearts films, was cast opposite the real Ms. Skinner in the 1943 ghost chiller The Uninvited--and was nearly murdered by the older actress in the course of the plotline! ~ Hal Erickson, All Movie Guide

Though legendary entertainer Al Jolson was a highly visible presence on the U.S.O. circuit during World War II, he was generally regarded as a relic of an earlier time until his movie comeback in 1945's Rhapsody in Blue. Showing up 30 minutes into this biopic of George Gershwin, Jolson literally stopped the show with his robust rendition of "Swanee." Suddenly, every Hollywood studio was negotiating with Jolson to film his life story. Warner Bros., the studio that skyrocketed to the top ranks via the 1927 part-talkie Jolson vehicle The Jazz Singer, seemed to have the inside track, but it was Columbia's Harry Cohn who made the deal that Jolson couldn't refuse. An attractively appointed fabrication, the Technicolor The Jolson Story distorts and glosses over the particulars of Jolson's life, but the results are so darned entertaining that nobody really paid attention to its inaccuracies. The story begins in turn-of-the-century Washington, D.C., where young Asa Yoelson (Scotty Beckett), son of an immigrant cantor (Ludwig Donath), ignores his religious studies in favor of popular music. Asa is hired as an "extra added attraction" boy tenor by a vaudevillian; when his voice breaks, the boy wins over the audience with his whistling ability. Growing into manhood, Asa Yoelson -- now "Al Jolson," and now played by Larry Parks -- becomes fascinated with African-American jazz music. He breaks away from his initial vaudeville assignment by joining Lew Dockstader's (John Alexander) blackface minstrel troupe, then goes on to success as a "single." Ascending to Broadway, Jolson establishes a reputation as an inveterate ad-libber, as well as an indefatigable singing performer, frequently holding an audience in thrall until the wee hours of the morning. Along the way, he falls in love with singer Julie Benson (Evelyn Keyes), a character based on Jolson's third wife Ruby Keeler, who refused permission to have her name used on screen. As Jolson attains superstardom, his ego assumes gargantuan proportions, alienating many of those around him, including his wife Julie. Anxious not to lose Julie, Jolson promises to change his ways. He even goes into retirement so as to spend more time with his wife. But when coerced into performing before a nightclub audience, Jolson is "hooked"once more -- whereupon the understanding Julie walks out of his life, realizing that she can never compete with Jolson's love for his audience. Like its subject, The Jolson Story delivered exactly what the audience wanted to hear. Faithful Columbia contractee Larry Parks was catapulted to stardom as Jolson, though in retrospect he seems a curious casting choice: his miming of Jolson's style is painstakingly accurate, but he seems too boyish and unwordly for the role. Jolson, then well into his sixties, had wanted to play himself on screen, but was talked out of it after a rather embarrassing screen test. He consoled himself by personally coaching Parks in the role (his attitude toward the young performer alternated between avuncular and adversarial through the shooting), and by providing his own voice in the musical sequences. Jolson also appears in long-shot during the "Swanee" number, which like all the film's musical highlights was directed by cult favorite Joseph H. Lewis (whose "dry run" for this assignment was the 1945 PRC production Minstrel Man). A wealth of Jolson standards are heard in The Jolson Story, including "You Made Me Love You," "I'm Sitting on Top of the World," "My Mammy," "There's a Rainbow Round My Shoulder," "Toot Toot Tootsie," "The Anniversary Waltz," "Rock-a-bye Your Baby," and "Let Me Sing and I'm Happy." The film was nominated for several Oscars, winning in the "best sound" and "best score" categories. A fantastic box-office success, The Jolson Story spawned a 1949 sequel, Jolson Sings Again. Ironically, despite Larry Parks' contributions to the film, it did little for that actor and instead reignited Jolson's celebrity during the last several years of his life. ~ Hal Erickson, All Movie Guide

Marital entanglements provide the basis for this drama. The trouble begins as a woman prepares to marry her fifth husband, and former high school sweetie. Unfortunately he is already married. His wife begins divorce proceedings and sues for custody of the children. The newly freed man and the serial divorcee travel to Chicago where she begins arrange a shady property deal. The man figures out her game and leaves her in favor of his former wife. ~ Sandra Brennan, All Movie Guide

This tale of two tugboats focuses upon the rivalries between two operators competing to win a major shipping contract. Meanwhile a tugboat office secretary and an ex-con who wants to go straight, fall in love. Tugboat Annie is put in charge of a child violinist. When a waterfront fire breaks out, the two warring captains join forces to put it out. ~ Sandra Brennan, All Movie Guide

Based on a play by Ruth Gordon, Over 21 represents the felicitous teaming of two middle-aged but attractive film favorites. Alexander Knox plays newspaper editor Max Wharton, who despite his age, patriotically signs up for Officer Candidate School. The humor arises from the fact that Wharton has trouble adjusting to the rigors of Army life, not to mention the good-natured competition of much-younger OCS aspirants. Meanwhile, Wharton's wife Paula (Irene Dunne) does her best to accommodate her husband's peripatetic military existence, and to ward off Wharton's boss Robert Gow (Charles Coburn), who insists that Max give up this "nonsense" and return to civilian life. Sharply directed and cleverly cast, Over 21 still delivers a full quota of laughs despite the dated quality of the storyline. ~ Hal Erickson, All Movie Guide

The Stork Club, the famed New York nightspot immortalized by columnist Walter Winchell (in return for special favors from its owners), is the setting for this typically brash Betty Hutton musical. Hutton plays a young hat check girl who rescues an elderly tramp (Barry Fitzgerald) from drowning. The old bum turns out to be a millionaire, and expresses his gratitude by setting up Hutton in luxury--asking for nothing in return. Hutton's boyfriend Don DeFore suspects hanky panky, but all is forgiven during the obligatory floor show. There are rumors that the Stork Club itself financed The Stork Club as a feature-length commercial. Whatever the case, ownership of the film was cloudy enough to allow it to slip into the public domain in 1982, which explains why Stork Club seems to be running 24 hours a day on cable TV. ~ Hal Erickson, All Movie Guide

In this comedy, a PR man saves a struggling radio station from ruin. Songs include: "Slap Polka", "Walk A Little Faster", "Moonlight Fiesta", and "Where The Prairie Meets The Sky". ~ Sandra Brennan, All Movie Guide

The second of two "East Side Kids" entries with horse-racing backgrounds (the first was That Gang of Mine), Mr. Muggs Rides Again stars Leo Gorcey in the title role. Thanks to the chicanery of crooked gamblers, Muggs (Leo Gorcey), an honest jockey, is banished from the track. But Muggs is less concerned about his own fate than he is over the plight of horse farm owner Ma Brown (Minerva Urecal), who is facing foreclosure. While helping Muggs take up a collection on behalf of Ma, her niece Elsie (Nancy Brinkman), falls in love with Gaby (Gabriel Dell), one of the gamblers. At Elsie's request, Gaby agrees to tell the racing commission that Muggs is innocent of the charges levelled against him. The other gamblers try to silence Gaby permanently, and also dope Ma Brown's horses, but Muggs and the rest of the East Side Kids (Huntz Hall, Billy Benedict et. al.) come to the resuce. The film's best scene, a visit to a sideshow fortune-teller, has absolutely nothing to do with the plot, but who cares? ~ Hal Erickson, All Movie Guide

This odd combination of roughneck comedy and serious domestic drama was adapted by Louise Randall Pierson from her own autobiographical novel. Rosalind Russell is cast as young Louise Randall, the headstrong daughter of a New England merchant. Inheriting her father's business, Louise intends to persevere in a "man's world," and to that ends takes business courses at Yale. Here she meets and marries banker's son Rodney Crane (Donald Woods), with whom she has four children. When wishy-washy Rodney runs off with another woman, Louise marries a second time to irresponsible but likable gambler Harold Pierson (Jack Carson) -- and gets pregnant again. Though Louise and Harold are as different as night and day, theirs is a lasting union, which remains solid despite whatever misfortunes come their way. The story ends at the outbreak of WW II, with Louise and Rodney bidding a tearful but hopeful goodbye to their three grown sons as the boys prepare to enter military service. ~ Hal Erickson, All Movie Guide